The curtain rises on CCM’s production of Green Day’s punk rock-opera American Idiot  at 8 p.m. on Thursday, March 3, but the behind-the-scenes work has been going on for months. Much of the design process for a musical must be completed before actors even step into the rehearsal hall, but the work doesn’t end there. It continues all the way to opening night.

Thomas Umfrid, American Idiot set designer and Professor of Stage Design at CCM, is no stranger to the process. His career has taken him around the world, designing for opera, drama, musical theatre, dance and more. We were able to tear him away from his hectic schedule leading up to opening night to give us a little insight about his design.

Talk about the overall design for American Idiot and how you came up with it.

An image of the aftermath of the Sept. 11 terrorist attack in New York City.

An image from ground zero in the aftermath of the Sept. 11 attack in New York City.

Director Aubrey Berg came up with the design concept, a lot of which is based on iconographic 9/11 imagery, which I then developed into the design.

This project has an overriding environmental conceit and isn’t supposed to be any particular time or place.  It’s a space that evokes a dark and pessimistic mood and serves the loosely episodic stage action.

The music and lyrics aren’t pretty or glamorous, they ’re down and dirty. So is the set.

How does the set help tell the story?

Although the story deals with events passing in time and inter-related characters, it doesn’t necessitate “in focus” scenic environments, time of day or symbolic references to actual places.

For example, the characters go to New York, but the city isn’t directly rendered in any particularly recognizable way. It could be any big western city where marginalized and drugged out suburban youth have fled to try and find themselves, and in so doing, get terribly lost in the process.

How close is the actual product on stage to the initial ideas?

There is always a natural, and expected, “page to stage” evolution of a set design from the scale model and mechanical drawings to the real thing sitting on stage.

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My student, staff and faculty colleagues have done an incredible job of developing and translating Aubrey’s and my ideas to the stage. When the cast moves into the theater and begins to explore the, at times, 28 foot high stage after weeks of rehearsal in a rather neutral and barrier free rehearsal hall, I’ll have a much better idea of how successful we’ve been in translating our ideas to the stage. This is always a crucial and exciting phase of any show.

What was most important to you to convey through the set?

I hope the audience will be subconsciously affected by the environment and, rather than notice anything in particular about the set, have a visceral reaction as they experience the show as a whole entity.

American Idiot runs March 3 – 13 at CCM’s Patricia Corbett Theater. This production contains mature subject matter, including references to drug use, sexual content and profanity. Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online at

CCM's Mainstage Series production of Green Day's 'American Idiot' plays March 3 - 13, 2016.

CCM’s Mainstage Series production of Green Day’s ‘American Idiot’ plays March 3 – 13, 2016.


CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Mainstage Season Production Sponsor: Macy’s

Community Partner: ArtsWave

American Idiot is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019 | Phone: 212-541-4684 | Fax: 212-397-4684 |

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